TIME IN THE NOVELS OF MILOS CRNJANSKI - Nottingham eTheses

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CHAPTER FOUR savina, thinkina and ~eelina various points in the ~uture. synchronically, and ~ro. The te.poral aap between the authorial voice and the events it narrate. is characterised by an epistemoloaical link; in other words, its authority rests on privileaed access to in~or.ation which the characters knew at some point. 'The authorial voice, narratina ~ro. the characters' point o~ view, not on1y disrupts tempora1 sequence, but also interp01ates into the text the human dimension o~ time in which memory and anticipation both reside in the present. At the beainnina o~ the nove1 Pavle is put in prison eor his role in the disturbances in the Serbian reaiments. A aeneral comment is made on the passace o~ time in the prison, such that "u tom zatvoru, apsenik bi brzo nau~io kako je u .rtva~ko. sanduku, a izaubio bi i po;lam 0 vre.enu" ("in the prison, the detainee wou1d quickly learn what it is like in a co~~in. and would 10se even his sense o~ ti.e" .. 14). However. Pav1e retains a sense o~ time passina while in prison, measured by his memories o~ recent events, and particularly o~ the o~~icial ~ro. Vienna. Garsuli. who ordered his arrest. Se then re~1ects on his marriaae and his wi~e who died more than a year previous1y whi1e aivins bir~h prematurely. Time is net meas~red by external eventa, and no indication is siven o~ hOW lona he remains in si1ent contemplation. But. Pav1e's memories are a persena1history WhiCh. a1thouah they do 110
CHAPTER FOUR not explain his present position. reveal the human dimension o~ hopes and ~ears in time. The historical voice narrates ~rom the point in time which corresponds to the time o~ writinc. Unlike the authorial voice. able to move over the time period occupied by the characters and licht on any point in that period. or the chronicle voice which is at a ~ixed but unspeci~ied point in the ~uture. the historical voice assesses events in the novel ~rom what it recat-ds as "the world in which we now live": Tih dana. svet u kom sad !ivimo. bio je po~eo tek da se stvara. U kolonijalnim t-atovima. u pobunama. u sudbonosnim doco~ajima u Zndiji. Americi. i dalekim morima. stvarao se jedan novi svet. nov i za Evropljane. Zsakovi~i 0 tom nisu Enali (15). Zn those davs the world in which we now live had just becun to be created. Zn colonial wars. in revolutions. in fateful events in India. America, and the ~ar seas. a new world was beinc created. new ~or the Europeans too. The Zsakovi~ family did not know about that. The historical voice is isolated ~rom the world of the Isakovi~ ~amilY who knew nothinc o~ the Enlichtenment. and the European cultural developments of the time which laid the foundations ~or the cUlture o~ todav. Zts authority is dependent on its position in times it cont!'asts with the autho!'ial voice in that the authorial voice is linked to the knowledce of the characte!'s. whereas the historical'voice is charactet-ised by an epistemolocical divide which separates it from the 171
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TIME IN THE NOVELS OF MILOS CRNJANS
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ABSTRACT TIME IN THE NOVELS OF MILO
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CHAPTER ONE PART ONE CHAPTER ONE TH
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CHAPTER ONE preoccupations and char
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CHAPTER ONE (1971). There are simil
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CHAPTER ONE than in his studies. Th
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CHAPTER ONE his connection with Ben
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CHAPTER ONE One could not speak ~et
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CHAPTER ONE his collection o~ poems
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CHAPTER ONE debate with other croup
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CHAPTER ONE and a style similar to
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CHAPTER ONE slikara koji su osnoval
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CHAPTER ONE project in the post-war
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CHAPTER ONE adoption of the term ne
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CHAPTER ONE stru~~le of the earlv R
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CHAPTER ONE discontinuing the line
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CHAPTER ONE this discussion on the
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CHAPTER ONE impression that the con
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CHAPTER ONE knji~evni ;lasnik (66).
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CHAPTER ONE His recollection of his
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CHAPTER ONE and that he used his po
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----------------------- CHAPTER ONE
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CHAPTER ONE The~ took all my books
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CHAPTER ONE areas of social and cul
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CHAPTER ONE Crnjanski's memoirs fro
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CHAPTER ONE 1962. Far from beine pe
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CHAPTER ONE Habsbur~ armv. Thev led
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CHAPTER ONE chanced. He had intende
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CHAPTER ONE verv d~fferent sentence
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CHAPTER ONE doe. not view the.e eve
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CHAPTER ONE Much of what informed h
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CHAPTER ONE December 1959, p15. 11.
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CHAPTER ONE 36. Draaila Vitolevi6.
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CHAPTER ONE 66. Mi101 Crnjanski. Su
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CHAPTER ONE 93. Ljub11a .1erem16, "
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CHAPTER TWO PART TWO CHAPTl!iR TWO
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CHAPTER TWO The Antholocy to which
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CHAPTER TWO His rriend told him or
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CHAPTER TWO su bo~e, ~ak tamo do zv
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CHAPTER TWO hi. outlook. which i. i
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CHAPTER TWO intuitive. As Milan Bo~
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CHAPTER TWO the actual time of narr
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CHAPTER TWO articles (such as the o
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CHAPTER TWO The "new sensibil.ities
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CHAPTER TWO Pound's emphasis on 1an
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CHAPTER TWO which also links the in
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CHAPTER TWO Ber~son, as for Crnjans
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CHAPTER TWO in the "rhythm ot each
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CHAPTER TWO cause and effect. ver~
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CHAPTER TWO tempol"alitv. but bv st
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CHAPTER TWO Moderna umetni~ka lirik
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CHAPTER TWO rhythm"). Later in the
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CHAPTER TWO Notes 1. Sima Pandurovi
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CHAPTER TWO 36. Joseph Frank. "Spat
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CHAPTER THREE Crnjanski's lyricism
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CHAPTER THREE persuade him of the n
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CHAPTER THREE to find themselves al
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CHAPTER THREE writin~. and their du
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CHAPTER THREE i vi~u: "Izdajice. iz
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CHAPTER THREE o toj je s~1c1 mu~e61
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CHAPTER THREE action, the focus on
Page 123 and 124: CHAPTER THREE ("1 am ~~ing; down").
Page 125 and 126: CHAPTER THREE to the insicnificant.
Page 127 and 128: CHAPTER THREE dominates much o-r th
Page 129 and 130: CHAPTER THREE of self in his dream.
Page 131 and 132: CHAPTER THREE Po~azlivenim vodama.
Page 133 and 134: CHAPTER THREE Uili su u Pe~uj tako
Page 135 and 136: CHAPTER THREE The whole campaien th
Page 137 and 138: CHAPTER THREE In Vuk's consciousnes
Page 139 and 140: CHAPTER THREE simultaneous. The int
Page 141 and 142: CHAPTER THREE boucht, he wanted to
Page 143 and 144: CHAPTER THREE main verb is deterred
Page 145 and 146: CHAPTER THREE the passin,; ot an ev
Page 147 and 148: CHAPTER THREE ni~ht cooin~. he list
Page 149 and 150: CHAPTER THREE zalivala svoje poljup
Page 151 and 152: CHAPTER THREE the po~nt. of v~ew of
Page 153 and 154: CHAPTER THREE social custom in the
Page 155 and 156: CHAPTER THREE his ~riends ~or Vuk I
Page 157 and 158: CHAPTBR THRBB 89) 1 •• 1.0 'oun
Page 159 and 160: CHAPTER THREE Notes 1. M. Svetovaki
Page 161 and 162: CHAPTER THREE 45. Novioa Petkovi6.
Page 163 and 164: CHAPTER THREE 90. III. p16. p223. 9
Page 165 and 166: CHAPTER FOUR Voice. in this context
Page 167 and 168: CHAPTER FOUR di~~erent arransement
Page 169 and 170: CHAPTER FOUR Novom Sadu. izc~eda da
Page 171 and 172: CHAPTER FOUR chronic~e. The events
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Page 177 and 178: CHAPTER POUR institutions which all
Page 179 and 180: CHAPTER FOUR European civilisation
Page 181 and 182: CHAPTER POUR a creative order. Each
Page 183 and 184: CHAPTER FOUR su Oni. Isakovi~i.u Au
Page 185 and 186: CHAPTER FOUR and die for Russia. an
Page 187 and 188: CHAPTER POUR tortured re~lections e
Page 189 and 190: CHAPTER FOUR I com~ort him with wha
Page 191 and 192: CHAPTER FOUR one point that ".John
Page 193 and 194: CHAPTER FOUR impersonal and distanc
Page 195 and 196: CHAPTER FOUR in the lancuac. o~ the
Page 197 and 198: CHAPTER FOUR question which misht b
Page 199 and 200: CHAPTER FOUR because of the intri~u
Page 201 and 202: CHAPTER FOUR class, that lady - mur
Page 203 and 204: CHAPTER FOUR Dloni mu vi~e u uvo da
Page 205 and 206: CHAPTER FOUR those which Rjepnin ha
Page 207 and 208: CHAPTER FOUR anal~sis has shown tha
Page 209 and 210: CHAPTER FOUR sort of ·larce, stran
Page 211 and 212: CHAPTER POUR in o~de~ to set the ~a
Page 213 and 214: CHAPTER POUR expression of time is
Page 215 and 216: CHAPTER FOUR seoba. "Epic and Time
Page 217 and 218: CHAPTER FOUR U4. Boris Uspenskv. A
Page 219 and 220: CHAPTER FIVE PART THREE CHAPTER FIV
Page 221 and 222: CHAPTER FIVE characters' invo~vemen
Page 223 and 224: CHAPTER FIVE absurd and a~ien in th
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CHAPTER FIVE left Russia, he has ju
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CHAPTER FIVE Xzabe~a. and h~s f~~st
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CHAPTER FIVE are sharp~v contrasted
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CHAPTER FIVE th1S? 11). closes thus
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CHAPTER FIVE dane sam prvi put nau~
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CHAPTER F1.VE says. "H06u da ti pri
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CHAPTER. FIVE spends the niaht. and
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CHAPTER FIVE Greek honeyed words. a
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CHAPTER FIVE psvche wh1Ch eX1sts be
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CHAPTER F~VE aeainst the diarist's
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CHAPTER FIVE by" 51). By avoidin~ t
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CHAPTER FIVE his diary with a para&
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CHAPTER FIVE United States. Third.
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CHAPTER FIVE An officer is 1ike a f
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CHAPTER FIVE London at the time" 67
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CHAPTER FIVE The passa~e continues
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CHAPTER FIVE and his class-mates: G
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CHAPTER FIVE of their vears. thev w
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CHAPTER FIVE station. The cinema is
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CHAPTER FIVE 1948 but with a parall
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CHAPTER FIVE on himselt. the other
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CHAPTER FIVE prolazili ljudi ilene.
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CHAPTER FIVE heart of Rjepnin's psv
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CHAPTER FIVE Rjepnin considers retu
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CHAPTER FIVE bein~-in-time. Both Dn
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CHAPTER FIVE Notes 1. Leslie A. Joh
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CHAPTER FIVE UB. II. p11. U9. II. p
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CHAPTER FIVE 98. IX. p325. 99. Duii
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CHAPTER SIX i bein~-in-time wi.t~ t
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CHAPTER S.IX c~ttle. around the for
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CHAPTER SIX trend in the epic in wh
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CHAPTER SIX tuture becomes present.
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CHAPTER SIX the loss o~ the ~ather'
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CHAPTER SIX their oontaot with natu
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CHAPTER SIX his ~ather. However. th
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CHAPTER SIX In P'cs. Vuk is invited
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CHAPTER SIX search. The final passa
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CHAPTER SIX sneeom. opet doselili d
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CHAPTER SIX experience sQmethin~ wh
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CHAPTER SIX seemed to him as if hea
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CHAPTER SIX Nemalt1na, samo~a, b01e
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CHAPTER SIX Zatim je Zemun doznao j
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CHAPTER SIX dance. clances and kiss
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CHAPTER SIX her shadow in the mire,
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CHAPTER SIX ona jo! vide neko zlatn
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CHAPTER SIX symbols of the sta~ and
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CHAPTER SIX sad odlaze. Prva velika
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CHAPTER SIX of the nation at Kosovo
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CHAPTER SIX molda samo oni znaju" (
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CHAPTER SIX spokesperson for the wh
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CHAPTER SIX She was dead for more t
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CHAPTER SIX based on the values ot
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CHAPTER SIX iz~leda da se taj rat n
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CHAPTER SIX todav. The details whic
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CHAPTER SIX ohapter of the novel. w
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CHAPTER SIX The ~ears are passin~ e
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CHAPTER SIX Notes 1. III. pll'3. 2.
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CHAPTER SIX 47. III, p79. 46. III,
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CHAPTER SIX 99. Mircea Eliade. Cosm
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CHAPTER SEVEN CHAPTER SEVEN CONCLUD
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CHAPTER SEVEN follow ~apidlY in the
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CHAPTER SEVEN temporal relationship
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CHAPTER SEVEN oriein, linked to but
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CHAPTER SEVEN Carnojevi6u, are pers
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CHAPTER SEVEN search o~ salvation.
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CHAPTER SEVEN discourse which opens
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CHAPTER SEVEN The moti~ o~ return a
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CHAPTER SEVEN Crnjanski himself def
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CHAPTER SEVEN 11. I. p210. 18. II.
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BIBLIOGRAPHY of Arts and Sciences,
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, Crnjanski, Milo~. "Objalnjenje 'S
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BIBLIOGRAPHY SECONDARY SOURCES The
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BIBLIOGRAPHY I~njatovi6. Dra~oljub.
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BIBLIOGRAPHY Lovri6. Jasmina. "Funk
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BIBLIOGRAPHY Serbian Literature, ed
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BIBLIOGRAPHY Zdrale. Radovan. "Crnj
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BIBLIOGRAPHY Srpski knjifevni glasn
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BIBLIOGRAPHY Mirkovi6, Mil.osl.av,
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BIBLIOGRAPHY Kru!evac. 1988 Travar.
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BIBLIOGRAPHY 7-8. pp809-817 Mirkovi
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BIBLIOGRAPHY SUPPLEMENTARY MATERIAL
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BIBLIOGRAPHY Modernism Bradburv, Ma
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BIBLIOGRAPHY Time in Literature Bak
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BIBLIOGRAPHY Spencer. Sharon. Space
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